The Film:

Science fiction is defined as the literature of ideas, where writers use imaginary innovations and explore the possibilities and ramifications of these ideas. At its best, like here in the Source Code, these ideas feel like a calling card for what we can use technology for, instead of wishful thinking. If A.I. is developing at a rapid pace, more so than our own mental growth, why not use it to our advantage, instead of letting A.I. develop into Singularity? Science fiction might feel like wishful thinking, but if it moves you into a direction of change or the thinking of the presented idea, well, that’s why its the blueprint for great storytelling.

Can the science in the Source Code really work? I don’t know. I’m sure some searching on Google would find some interesting theories on the subject at hand, but there’s also those other people would are going to claim that the science is hokey. Who cares. Any fear of a sophomore slump for Moon‘s director Duncan Jones is put to rest easily. What feels like a mixture of a Quantum Leap episode from a discarded Philip K. Dick story, is mined for the thread of humanity and for that, despite maybe the grumblings of the pretty cast and the ending, Source Code is just plain great science fiction.

Up-and-coming directors like Duncan Jones get unwillingly caught up in fan boy blankets of love, as if they dictate their career paths. Moon was special. Smart, quiet, and intelligent, all of the things Source Code is, but I understand the distraction that the trailer promised: explosions, the cute cast, studio fare. On its basic level, the film is about relationships. Whether it’s with real people, fathers, digital recreations, one’s self, the Source Code is a haunting look back at life.

I’m purposely not talking about the plot, since I personally feel the trailers show you enough already and that’s the journey of exploration that aids the film. The Source Code feels like a think-tank of some people who give a damn about protecting the values of life in America, that were crushingly deleted on September 11th. Ben Ripley’s script isn’t complex, and that’s the beauty. By streamlining the invention of “The Source Code”, which acts a little like the technology in Minority Report, only helps us ease into this “what if?” scenario. From there, it’s all about the characters and choice. Time is always ticking away. Moments are always lost.

It’s a one-trick pony, this symphony of “The Source Code”, with Jake Gyllenhaal repeating eight minutes to find a bomber and to stop a further attack, and it’s a wonderful exercise in what we are as people in an increasingly Wi-Fi culture. The Source Code is all too pleasing, which is just wonderful. It’s not to be missed.

The Blu-ray:

Audio/Video: Summit Entertainment offers up a near-perfect HD presentation. The film looks dazzling, with bright colors, deep blacks, and extremely high details. I think if there’s any issues, they’re minor. It looks great. The DTS track is on par with Blu-rays typically high quality, with deep bass, constant rear speaker activity, and clear dialogue.

Commentary: Director Duncan Jones, Actor Jake Gyllenhaal, and Writer Ben Ripley offer up a lively, informative chat about the film’s creation, the genre influences, and the making of the film. It’s a solid listen.

Access: Source Code: This is a really good PiP track, filled with interviews, behind-the-scenes segments, experts talking about the reality of time-travel, and plenty of neat little trivia tracks. I know some people feel as if theses PiP tracks are too time-consuming, but Summit offers a solid track worth the effort to go through.

The Film: Rating: 4 out of 5 stars

The Blu-ray: Rating: 3.5 out of 5 stars

Can the science in the Source Code really work? I don’t know. I’m sure some searching on Google would find some interesting theories on the subject at hand, but there’s also those other people would are going to claim that the science is hokey. Who cares. Any fear of a sophomore slump for Moon‘s director Duncan Jones is put to rest easily. What feels like a mixture of a Quantum Leap episode from a discarded Philip K. Dick story, is mined for the thread of humanity and for that, despite maybe the grumblings of the pretty cast and the ending, Source Code is just plain great science fiction.

Up-and-coming directors like Duncan Jones get unwillingly caught up in fan boy blankets of love, as if they dictate their career paths. Moon was special. Smart, quiet, and intelligent, all of the things Source Code is, but I understand the distraction that the trailer promised: explosions, the cute cast, studio fare. On its basic level, the film is about relationships. Whether it’s with real people, fathers, digital recreations, one’s self, the Source Code is a haunting look back at life.

I’m purposely not talking about the plot, since I personally feel the trailers show you enough already and that’s the journey of exploration that aids the film. The Source Code feels like a think-tank of some people who give a damn about protecting the values of life in America, that were crushingly deleted on September 11th. Ben Ripley’s script isn’t complex, and that’s the beauty. By streamlining the invention of “The Source Code”, which acts a little like the technology in Minority Report, only helps us ease into this “what if?” scenario. From there, it’s all about the characters and choice. Time is always ticking away. Moments are always lost.

It’s a one-trick pony, this symphony of “The Source Code”, with Jake Gyllenhaal repeating eight minutes to find a bomber and to stop a further attack, is a wonderful exercise in what we are as people in an increasingly Wi-Fi culture. The Source Code is all too pleasing, which is just wonderful. It’s not to be missed.

Rating: 4 out of 5 stars

At one stage Jake Gyllenhaal was attached to the project but has since left it. Actors and actresses being considered for the leads who have apparently had meetings are Andrew Garfield, Emile Hirsch, Chris Pine, Rosario Dawson, Megan Fox, Rachel McAdams, Eva Mendes, Zoe Saldana and Olivia Wilde. Word is if the two leads work than this will likely more ahead.

Source: Heat-Vision

In an assignment unlike any he’s ever known, Captain Colter Stevens learns he’s part of a government experiment called the “Source Code,” a program that enables him to cross over into another man’s identity in the last 8 minutes of his life. With a second, much larger target threatening to kill millions in downtown Chicago, Colter re-lives the incident over and over again, gathering clues each time, until he can solve the mystery of who is behind the bombs and prevent the next attack.

“I definitely think there is an intangible aspect of video games in the interactivity that a film is never going to capture. But that is not what a game adaptation needs to be. A good game adaptation is where you find the story or the emotional aspect that’s at the heart of a computer game and you replicate that on film. It doesn’t mean you need to have first person perspective or try and capture the mechanics of a game. If you’re going to make a film of a game it’s got to be about the essence of why you, the audience, care what’s going on. There are certain games where that will work, and there are certain games where it doesn’t.

I’m hugely jealous of Sam Raimi [here; there really hasn't been much on this or from Raimi since SDCC 2010]…I really believe World of Warcraft could be the launch of computer games as good films. And from the little I’ve read of interviews with him the way he’s approaching it makes so much sense. It’s what I was talking about – it’s not worrying about how the game plays, it’s about creating the world of the game and investing the audience in that world.”

I could care not. To me, WoW is a game were you pay to walk around, like an interactive Lord of the Rings. Whoopie-doo. Thoughts?

The 36th Annual Saturn Awards takes place on June 24th in Burbank, California.

Best Science Fiction Film

• The Book of Eli (Warner Bros)
• Knowing (Summit Entertainment)
• Moon (Sony Pictures Classics)
• Star Trek (Paramount)
• Transformers: Revenge of the Fallen (Paramount)
• X-Men Origins: Wolverine (20th Century Fox)

Best Fantasy Film

• Avatar (20th Century Fox)
• Harry Potter and the Half-Blood Prince (Warner Bros)
• The Lovely Bones (Paramount)
• The Time Traveler’s Wife (Warner Bros.)
• Watchmen (Warner Bros.)
• Where the Wild Things Are (Warner Bros.)

Best Horror Film

• The Box (Warner Bros.)
• Drag Me to Hell (Universal)
• Frozen (Anchor Bay Films)
• The Last House on the Left (Rogue / Universal)
• The Twilight Saga: New Moon (Summit Entertainment)
• Zombieland (Sony)

Best Action/Adventure/Thriller Film

• 2012 (Sony)
• Brothers (Lionsgate)
• The Hurt Locker (Summit Entertainment)
• Inglourious Basterds (The Weinstein Co.)
• Law Abiding Citizen (Overture)
• The Messenger (Oscilloscope Pictures)
• Sherlock Holmes (Warner Bros.)

Best Actor

• Robert Downey, Jr. (Sherlock Holmes) (Warner Bros.)
• Tobey Maguire (Brothers) (Lionsgate)
• Viggo Mortensen (The Road) (The Weinstein Co.)
• Sam Rockwell (Moon) (Sony Pictures Classics)
• Denzel Washington (The Book of Eli) (Warner Bros.)
• Sam Worthington (Avatar) (20th Century Fox)

Best Actress

• Catherine Keener (Where the Wild Things Are) (Warner Bros.)
• Melanie Laurent (Inglourious Basterds) (The Weinstein Co.)
• Alison Lohman (Drag Me to Hell) (Universal)
• Natalie Portman (Brothers) (Lionsgate)
• Zoe Saldana (Avatar) (20th Century Fox)
• Charlize Theron (The Burning Plain) (Magnolia)

Best Supporting Actor

• Woody Harrelson (Zombieland) (Sony)
• Stephen Lang (Avatar) (20th Century Fox)
• Frank Langella (The Box) (Warner Bros.)
• Jude Law (Sherlock Holmes) (Warner Bros.)
• Stanley Tucci (The Lovely Bones) (Paramount)
• Christoph Waltz (Inglourious Basterds) (The Weinstein Co.)

Best Supporting Actress

• Malin Akerman (Watchmen) (Warner Bros.)
• Diane Kruger (Inglourious Basterds) (The Weinstein Co.)
• Rachel McAdams (Sherlock Holmes) (Warner Bros.)
• Lorna Raver (Drag Me to Hell) (Universal)
• Susan Sarandon (The Lovely Bones) (Paramount)
• Sigourney Weaver (Avatar) (20th Century Fox)

Best Performance by a Younger Actor

• Taylor Lautner (The Twilight Saga: New Moon) (Summit Entertainment)
• Bailee Madison (Brothers) (Lionsgate)
• Brooklynn Proulx (The Time Traveler’s Wife) (Warner Bros.)
• Max Records (Where the Wild Things Are) (Warner Bros.)
• Saoirse Ronan (The Lovely Bones) (Paramount)
• Kodi Smit-McPhee (The Road) (The Weinstein Co.)

Best Director

• J.J. Abrams (Star Trek) (Paramount)
• Kathryn Bigelow (The Hurt Locker) (Summit Entertainment)
• Neill Blomkamp (District 9) (Sony)
• James Cameron (Avatar) (20th Century Fox)
• Guy Ritchie (Sherlock Holmes) (Warner Bros.)
• Zack Snyder (Watchmen) (Warner Bros.)
• Quentin Tarantino (Inglourious Basterds) (The Weinstein Co.)

Best Writing

• Neill Blomkamp, Terri Tatchell (District 9) (Sony)
• James Cameron (Avatar) (20th Century Fox)
• Spike Jonze, Dave Eggers (Where the Wild Things Are) (Warner Bros.)
• Alex Kurtzman, Roberto Orci (Star Trek) (Paramount)
• Quentin Tarantino (Inglourious Basterds) (The Weinstein Co.)
• Alex Tse, David Hayter (Watchmen) (Warner Bros.)

Best Music

• Brian Eno (The Lovely Bones) (Paramount)
• Michael Giacchino (Up) (Walt Disney/Pixar)
• James Horner (Avatar) (20th Century Fox)
• Taro Iwashiro (Red Cliff) (Magnolia)
• Christopher Young (Drag Me To Hell) (Universal)
• Hans Zimmer (Sherlock Holmes) (Warner Bros.)

Best Costume

• Colleen Atwood (Nine) (The Weinstein Co.)
• Jenny Beavan (Sherlock Holmes) (Warner Bros.)
• Anna Sheppard (Inglourious Basterds) (The Weinstein Co.)
• Jany Temime (Harry Potter & the Half-Blood Prince) (Warner Bros.)
• Michael Wilkinson (Watchmen) (Warner Bros.)
• Tim Yip (Red Cliff) (Magnolia)

Best Make-Up

• Barney Burman, Minday Hall, Joel Harlow (Star Trek) (Paramount)
• Joe Dunckley, Sarah Rubano, Frances Richardson (District 9) (Sony)
• Sarah Monzani (The Imaginarium of Dr. Parnassus) (Sony Pictures Classics)
• Gregory Nicotero, Howard Berger (The Book of Eli) (Warner Bros.)
• Gregory Nicotero, Howard Berger (Drag Me to Hell) (Universal)
• Mike Smithson, John Rosengrant (Terminator: Salvation) (Warner Bros.)

Best Production Design

• Rick Carter, Robert Stromberg (Avatar) (20th Century Fox)
• Scott Chambliss (Star Trek) (Paramount)
• Stuart Craig (Harry Potter & the Half-Blood Prince) (Warner Bros.)
• Sarah Greenwood (Sherlock Holmes) (Warner Bros.)
• Philip Ivey (District 9) (Sony)
• Alex McDowell (Watchmen) (Warner Bros.)

Best Special Effects

• Tim Burke, John Richardson, Nicholas Aithadi, Tim Alexander – (Harry Potter & the Half-Blood Prince) (Warner Bros.)
• John DesJardin, Peter G. Travers, Joel Whist, Jessica Norman – (Watchmen) (Warner Bros.)
• Volker Engel, Marc Weingert, Mike Vezina – (2012) (Sony)
• Roger Guyett, Russell Earl, Paul Kavanagh, Burt Dalton – (Star Trek) (Paramount)
• Dan Kaufman, Peter Muyzers, Robert Habros, Matt Aitken – (District 9) (Sony)
• Joe Letteri, Stephen Rosenbaum, Richard Baneham, Andrew R. Jones – (Avatar) (20th Century Fox)

Best International Film

• District 9 (Sony)
• The Imaginarium of Dr. Parnassus (Sony Pictures Classics)
• Lorna’s Silence (Sony Pictures Classics)
• Red Cliff (Magnolia)
• Taken (20th Century Fox)
• Thirst (Focus Features)

Best Animated Film

• Disney’s A Christmas Carol (Walt Disney Studios)
• Fantastic Mr. Fox (20th Century Fox)
• Ice Age: Dawn of the Dinosaurs (20th Century Fox)
• Monsters Vs. Aliens (Paramount/DreamWorks)
• The Princess and the Frog (Walt Disney Studios)
• Up (Walt Disney Studios/Pixar)

Best Network TV Series

• Chuck (NBC)
• Fringe (Fox)
• The Ghost Whisperer (CBS)
• Heroes (NBC)
• Lost (ABC)
• The Vampire Diaries (CW)

Best Syndicated/Cable Television Series

• Breaking Bad (AMC)
• Battlestar Galactica (SyFy)
• The Closer (TNT)
• Dexter (Showtime)
• Leverage (TNT)
• True Blood (HBO)

Best Television Presentation

• Doctor Who: The End of Time (BBC America)
• Alice (SyFy)
• The Prisoner (AMC)
• Torchwood: Children of Earth (BBC America)
• The Tudors (Showtime)
• V (ABC)

Best Actor in Television

• Josh Holloway (Lost) (ABC)
• Bryan Cranston (Breaking Bad) (AMC)
• Matthew Fox (Lost) (ABC)
• Michael C. Hall (Dexter) (Showtime)
• Zachary Levi (Chuck) (NBC)
• Stephen Moyer (True Blood) (HBO)
• David Tennant (Doctor Who: The End of Time) (BBC America)

Best Actress on Television

• Anna Gunn (Breaking Bad) (AMC)
• Jennifer Love Hewitt (The Ghost Whisperer) (CBS)
• Evangeline Lily (Lost) (ABC)
• Anna Paquin (True Blood) (HBO)
• Kyra Sedgwick (The Closer) (TNT)
• Anna Torv (Fringe) (Fox)

Best Supporting Actor on Television

• Jeremy Davies (Lost) (ABC)
• Michael Emerson (Lost) (ABC)
• Aldis Hodge (Leverage) (TNT)
• Aaron Paul (Breaking Bad) (AMC)
• John Noble (Fringe) (Fox)
• Alexander Skarsgard (True Blood) (HBO)

Best Supporting Actress in Television

• Morena Baccarin (V) (ABC)
• Gina Bellman (Leverage) (TNT)
• Julie Benz (Dexter) (Showtime)
• Jennifer Carpenter (Dexter) (Showtime)
• Elizabeth Mitchell (Lost) (ABC)
• Hayden Panettiere (Heroes) (NBC)

Best Guest Starring Role in Television

• Bernard Cribbins (Doctor Who: The End of Time) (BBC America)
• Raymond Cruz (Breaking Bad) (AMC)
• Michelle Forbes (True Blood) (HBO)
• John Lithgow (Dexter) (Showtime)
• Leonard Nimoy (Fringe) (ABC)
• Mark Pellegrino (Lost) (ABC)

Best DVD Release

• House of the Devil (Dark Sky/Magnet)
• Laid to Rest (Anchor Bay)
• Not Forgotten (Anchor Bay)
• Nothing But the Truth (Sony)
• Pontypool (MPI)
• Super Capers (Lionsgate)
• Surveillance (Magnolia)

Best DVD Television Release

• Doctor Who: Planet of the Dead (BBC America)
• Torchwood: Children of Earth (BBC America)
• Terminator: Sarah Connor Chronicles: The Complete Second Season (Warner)
• Primeval, Volume 2 (BBC America)
• Lost: The Complete Fifth Season (Buena Vista)
• Life on Mars: The Complete Series (Buena Vista)

Best DVD Special Edition

• Watchmen: The Ultimate Cut (Warner)
• 300 Complete Experience (Warner)
• Snow White and the Seven Dwarfs (Blu-Ray) (Walt Disney)
• District 9 (Two-Disc Edition) (Sony)
• Terminator 2: Judgement Day: Skynet Edition (Lionsgate)
• X-Men Origins: Wolverine (Two Disc Special Edition) (Fox)

Best Collection

• Columbia Pictures Film Noir Classics, Volume 1 (Sony)
• The Hannibal Lector Anthology (MGM)
• Hellraiser Boxed Set (Anchor Bay)
• Icons of Sci-Fi: Toho Collection (Sony)
• Star Trek Original Motion Picture Collection (Paramount)
• The William Castle Collection (Sony)

Another heavily nominated film contender is Precious: Based on the Novel Push by Sapphire along wtih The Hurt Locker and Up in the Air. Check out the whole list of nominees below from Indie Wire. Do not forget, the award winners will be announced for the Orange British Academy Film Awards at the Royal Opera House in London on February 21rst.:

Best Film

• Avatar
• An Education
• The Hurt Locker
• Precious: Based on the Novel Push by Sapphire
• Up In The Air

Best Outstanding British Film

• An Education
• Fish Tank
• In The Loop
• Moon
• Nowhere Boy

Best Director

• James Cameron – Avatar
• Neill Blomkamp – District 9
• Lone Schefig – An Education
• Kathryn Bigelow – The Hurt Locker
• Quentin Tarantino – Inglourious Basterds

Best Leading Actor

• Jeff Bridges – Crazy Heart
• George Clooney – Up In The Air
• Colin Firth – A Single Man
• Jeremy Renner – The Hurt Locker
• Andy Serkis – Sex & Drugs & Rock & Roll

Best Leading Actress

• Carey Mulligan – An Education
• Saoirse Ronan – The Lovely Bones
• Gabourey Sidibe – Precious: Based On The Novel Push By Sapphire
• Meryl Streep – Julie & Julia
• Audrey Tautou – Coco Before Chanel

Best Supporting Actor

• Alec Baldwin – It’s Complicated
• Christian McKay – Me And Orson Welles
• Alfred Molina – An Education
• Stanley Tucci – The Lovely Bones
• Christoph Waltz – Inglourious Basterds

Best Supporting Actress

• Anne-Marie Duff – Nowhere Boy
• Vera Farmiga - Up In The Air
• Anna Kendrick – Up In The Air
• Mo’nique – Precious: Based On The Novel Push By Sapphire
• Kristin Scott Thomas – Nowhere Boy

Outstanding Debut By A British Writer, Director Or Producer

• Lucy Bailey, Andrew Thompson, Elizabeth Morgan Hemlock, David Pearson Directors, Producers – Mugabe And The White African
• Eran Creevy Writer/Director – Shifty Stuart
• Hazeldine Writer/Director – Exam
• Duncan Jones Director – Moon
• Sam Taylor-Wood Director – Nowhere Boy

Best Original Screenplay

• The Hangover (Jon Lucas, Scott Moore)
• The Hurt Locker (Mark Boal)
• Inglourious Basterds (Quentin Tarantino)
• A Serious Man (Joel Coen, Ethan Coen)
• Up (Bob Peterson, Pete Docter)

Best Adapted Screenplay

• District 9 (Neill Blomkamp, Terri Tatchell)
• An Education (Nick Hornby)
• In The Loop (Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche)
• Precious: Based On The Novel Push By Sapphire (Geoffrey Fletcher)
• Up In The Air (Jason Reitman, Sheldon Turner)

Best Film Not In The English Language

• Broken Embraces
• Coco Before Chanel
• Let The Right One In
• A Prophet
• The White Ribbon

Best Animated Film

• Coraline
• Fantastic Mr Fox
• Up

Best Music

• Avatar
• Crazy Heart
• Fantastic Mr Fox
• Sex & Drugs & Rock & Roll
• Up

Best Cinematography

• Avatar
• District 9
• The Hurt Locker
• Inglourious Basterds
• The Road

Best Editing

• Avatar
• District 9
• The Hurt Locker
• Inglourious Basterds
• Up In The Air

Best Production Design

• Avatar
• District 9
• Harry Potter And The Half-Blood Prince
• The Imaginarium Of Doctor Parnassus
• Inglourious Basterds

Best Costume Design

• Bright Star
• Coco Before Chanel
• An Education
• A Single Man
• The Young Victoria

Best Sound

• Avatar
• District 9
• The Hurt Locker
• Star Trek
• Up

Best Special Visual Effects

• Avatar
• District 9
• Harry Potter And The Half-Blood Prince
• The Hurt Locker
• Star Trek

Best Make Up & Hair

• Coco Before Chanel
• An Education
• The Imaginarium Of Doctor Parnassus
• Nine
• The Young Victoria

Best Short Animation

• The Gruffalo
• The Happy Duckling
• Mother Of Many

Best Short Film

• 14
• I Do Air
• Jade
• Mixtape
• Off Season

The Orange Rising Star Award (Voted For By The Public)

• Jesse Eisenberg
• Nicholas Hoult
• Carey Mulligan
• Tahar Rahim
• Kristen Stewart

Up in the Air actress Vera Farmiga and Trucker

The story centers on a soldier (Gyllenhaal) who is sent to investigate a terrorist incident by implanting himself in a random commuter who was involved in order to find out exactly who did it. The script is written by Billy Ray and Ben Ripley, being produced by Mark Gordon under his company along with Philippe Rousselet and Jordan Wynn producing under Vendome Pictures. The feature is slated to be released on a to be announced 2011 release date under Summit Entertainment.

The Film:

The science-fiction genre as always been genre that has gone hand-in-hand with special effects, mostly because it has to, but the more successful sci-fi films put story first, and special effects are used as an aid to the story. I think with the emergence of CG in the early ’90s, when special effects really took over, many science-fiction spectacles went for the eye instead of the mind. There is so much more to science-fiction than alien invasions, explosions, and robots, and while I think those can be fine, something I think was clearly lost was the science in the fiction. Now, there has been gems sprinkled throughout the years that are thoughtful, engaging, and interesting science-fiction films (Primer, Dark City) and you can add Moon to that shortlist.

Science-fiction can engage an audience in using ideas that aren’t too far-fetched. Moon, directed by first timer Duncan Jones, is more of a science-fiction drama. Sam Rockwell anchors the film by playing Sam, an astronaut marooned on the Moon for 3 years mining its resources to replace the ones we used up on Earth. Jones perfectly thrusts us into this near future with a fun, fake commercial showing what as happened to Earth’s resources and what is being done about it. After the prologue, we immediately know all we need to, so we can accept the film’s world. In so many science-fiction films, screenwriters spend most of the film using exposition to explain the whys and whats of what we are seeing, and thankfully, Jones has bypassed this. The story in Moon isn’t out of the realm of possibility, also adding to our acceptance of this future.

The film plays with Sam’s isolation, showing him doing routines and mundane hobbies. The film damns typical sci-fi conventions like action and spectacle to play with Sam’s increasing descent into madness, or what appears to be, as he is slowly starting to see things. This is what I meant by the drama aspect of my coined term, science-fiction drama. Not helping is Gerty (voiced by Kevin Spacey), an all knowing robot, like a kissing cousin to HAL from 2001: A Space Odyssey. In fact, the film plays homage directly to that film, minus the Kubrick existentialism. Moon really kicks in after an accident causes Sam to blackout, only for Gerty to not explain what happened or why there’s another person now hanging around.

The film offers up some great ideas, and plays well after the viewing. Most sci-fi fans will think about what the film has presented, a pleasant present the film gives us, making it a film worth thinking about. But the real problem is that while Duncan offers up some interesting scenarios and ideas, the follow through is a little limp. Where the film needed to follow-up on the escalation of tension and drama, it peters out. It’s a mild misstep, one we can easily ignore, for Duncan has crafted a solid, little science-fiction film that is engaging for the eyes and mind. The focus is on ideas and here, claustrophobia, anchored in by a very game Sam Rockwell, and a beautiful score (aren’t they always?) by Clint Mansell, makes Moon a destination worth traveling too.

The Blu-ray:

Audio/Video: For a science-fiction film, Moon isn’t the most visually interesting film out there, but this beautiful transfer goes along way to make it a visual treat. The Moon terrain is richly detailed and almost three-dimensional in terms of quality. Jones used a lot grays that make Sam’s existence in the station seem drab, and this transfer makes the sterile environment look amazingly sharp and crisp. Of course, the little bit of color in the film pops out, as black levels and other details are finely rendered.

The film has a really great sound design, something one can easily over-look when they saw it theatrically. This DTS track is pin-point precise in engulfing us in Sam’s world. Mansell’s score electrifies, as does the little bits of buzzer noises, clanks, clings, and other ambient noises. Sony Pictures did a superb job here.

Commentaries: We get two tracks here, one is with Jones, and his crew: the DP, Concept Designer, and Production Designer, and the other is with Jones and just his producer. The first track is full of talk about the story, set life, and other little tidbits. It’s a decent, but light track. The better is the second as they rattle off a lot of informative insight between the two. Film fans and Moon fans will fully dig this one.

The Making of Moon: Oddly, not in HD, this is pretty standard issue EPK, with spoilers of all things, so watch out.

Creating the Visual Effects: Again, not in HD, but this is a pretty cool piece with Simon Stanley-Clamp, the VFX Supervisor. But again, watch out, there are spoilers in this, as well.

Science Center Q and A with Duncan Jones: In HD, this has the director answering fan questions following a screening, that is kind of interesting. The same goes for Filmmaker’s Q and A at Sundance Film Festival, that is also in HD, and has more fans questions being answered.

Some BD-Live Functionality is featured, as is a slew of HD trailers for Moon and future Sony releases.

Conclusion: The film works best through repeated viewings, as it is welcome return to smart, interesting, sci-fi. The Blu-ray‘s transfer/audio are top-notch, but the extras are ho-hum.

The Film: Rating: 3.5 out of 5 stars

The Blu-ray: Rating: 3.5 out of 5 stars

The Hurt Locker

The movie ever critic loves, is actually worthy of the praise. A war film about war junkies, with a superb performance by Jeremy Renner. A must! (Formats: Blu-ray/DVD)   Jon says: Buy   Donny says: Rent

Moon

You want a return to smart, dramatic science-fiction? Here you go with a film that doesn’t need CG to be beautiful and features an excellent story, grounded in reality, making Duncan’s debut a winner. (Formats: Blu-ray/DVD)   Jon says: Buy   Donny says: Buy

Rob Zombie’s Halloween II

RZ literally didn’t do anything special with Michael, and the film wastes a great performance by Scout-Taylor Compton. Universally panned, except for our Donny Broussard. Okay, sorry boss, but don’t get mad because I need this job. Economy is bad for writers now. (Formats: Blu-ray/DVD)  Jon says: Avoid   Donny says: Buy

In the Loop

The much-praised comedy finally comes out, after a successful theatrical run. (Formats: Blu-ray/DVD)  Jon says: Rent   Donny says: Rent

Big Fan

From the writer of the Wrestler, comes another sports story, but this time a dark humored take on being a fan. (Formats: DVD only)  Jon says: Buy   Donny says: Rent

The Brothers Bloom

It was an exclusive for a while at other stores, but now all can see the Rian Johnson film that earned mixed notices. Those who loved it, loved it, however. (Formats: Blu-ray/DVD)  Jon says: Rent   Donny says: Buy

Downloading Nancy

The dark indie drama missed my market, so I’m eager to check this out. I love all things Ms. Bello.  (Formats: DVD only)  Jon says: Rent   Donny says: Buy

Tyler Perry’s I Can Do Bad All by Myself

Perry knows his market, and his films are profitable. ‘Nuff said. (Formats: Blu-ray/DVD) Jon says: Rent    Donny says: Rent

New to TV

Simpsons Season 20 (Formats: Blu-ray/DVD)

New to Blu

Cliffhanger

Last Action Hero

8 1/2: Criterion Collection

It’s a pretty big week, so keep it here for reviews of these discs and more, only on Killer Film!

The Film:

It’s so rare that you see a documentary in which the director never gets in the way of the subject. James Toback simply lets his camera roll and allows “Iron” Mike Tyson to tell his story – from his bullied young self to the manic depressive trash-talker who coined phrases like “I will eat your children”. On a superficial level, it’s a remarkably simply picture. Once in awhile there are split-screens and echoed conversations, but the bulk of the film is composed of a lone Tyson discussing his life to the camera. He’s rarely accompanied by music, and the archival footage is used only to accent Tyson’s accounts, not to tell the story on their own. It’s fitting for two reasons – not only does it give us an incredibly intimate look at a man most of us only know from his negative media coverage, but it illustrates Tyson as a victim of his own fame. A bullied boy, still alone, left only to reflect and regret. He puts it simply: “old too soon, smart too late”.

Tyson is the Mike Tyson story as told by Tyson himself. We’re never given insight by his friends, family, or media reporters – we, as the audience, are simply meant to believe every word coming out of Tyson’s mouth. Surprisingly, it’s not a hard thing to do. He speaks eloquently and heartfelt. For a man many people would label as a “brute”, he’s remarkably thoughtful, poetic, and even quite critical of himself. While we cannot know whether or not everything he tells us is true, he sure is persuasive.

Iron Mike grew up in a tough poverty-stricken neighborhood in Brooklyn. As a fat boy in such a harsh environment, he was often bullied. One day, he fought back – and, much to his surprise, he was damn good at it. Thus the seeds were planted for the boy who would become the baddest man on the planet.

The first turning point in his life came when he met the legendary trainer Cus D’Amato, who refined Tyson’s boxing skills and set him straight after a stint in a juvenile detention center. D’Amato died a year before Tyson won his first heavyweight title, but Tyson speaks of him as though he were the sole reason he was able to escape the streets.

The film covers many of the great media controversies – from his marriage to Robin Givens to the alleged rape of Desiree Washington. We also get his take on the infamous ear-biting incident. He says he was insane and uncontrollable, completely ashamed to have lost his cool. What’s so remarkable about the way Tyson speaks is that we forgive him for everything he says. How can you not sympathize with a man so vulnerable and honest with himself?

Tyson is simply fascinating. It’s only flaw is that it’s not two hours longer – I was dreading the end credits as I felt I’d only been given a teaser. So much more could have been covered in depth, from his relationship with Don King to an expanded analysis of his relationship with Desiree Washington. But, still, the film remains a wonderfully intimate and compelling portrait of a man most of us hardly ever thought twice about.

The Blu-ray:

Audio/Video: The film looks beautiful in a 1080p 1.85:1 widescreen presentation. The archival footage is of varying quality, but it’s understandable as it’s unavoidable. The scenes on the ocean, in particular, are beautiful with vivid and lively colors. Tyson’s narration is also always clear without any sign of distortion.

Audio Commentary: The disc includes a commentary track with director James Toback. He is incredibly thorough with his anecdotes, and there is rarely a moment of silence on the track.

A Day with James Toback: Running about sixteen minutes, this is a short documentary following director James Toback on the day of the film’s premiere. We see phone calls to celebrity guests, press interviews, Tyson arriving to the premiere, and so on. It’s a bit self-congratulatory, but nonetheless a fairly worthwhile feature.

Iron Mike – Toback Talks Tyson: The best feature on the disc. For about ten minutes, Toback answers a series of question regarding the making of the film. Among the topics addressed are how much creative freedom Tyson allowed Toback, and why Tyson tried to hide his tears to such an extent in one of the most powerful moment of the film.

James Toback on “The Big Picture Show”: This is a thirteen minute promotional piece on the film. It includes a brief Q&A with an audience with scenes from the film edited in between.

Theatrical Trailer: The Blu-ray disc features the film’s theatrical trailer.

Previews: The Blu-ray disc presents additional high definition trailers for the following: “Blu-ray Disc is High Definition”, Sugar, Rudo y Cursi, Moon, Whatever Works, Waltz With Bashir, and Redbelt.

Conclusion: Although the film didn’t have quite the emotional resonance for me on the second time around, I still find it to be a fascinating documentary and one of the best films 2009 has had to offer. The special features are nothing too special, but nevertheless I’d give the Tyson Blu-ray a recommendation.

The Film: Rating: 4 out of 5 stars
The Blu-ray: Rating: 3.5 out of 5 stars

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The science-fiction genre as always been genre that has gone hand-in-hand with special effects, mostly because it has to, but the more successful sci-fi films put story first, and special effects are used as an aid to the story. I think with the emergence of CG in the early ’90s, when special effects took over, many science-fiction spectacles went for the eye instead of the mind. There is so much more to science-fiction than alien invasions, explosions, and robots, and while I think those can be fine, something I think was clearly lost was the science in the fiction. Now, there has been gems sprinkled throughout the years that are thoughtful, engaging, and interesting science-fiction films (Primer, Dark City) and you can  add Moon to that shortlist.

Science-fiction can engage an audience in using ideas that aren’t too far-fetched. Moon, directed by first timer Duncan Jones, is more of a science-fiction drama. Sam Rockwell anchors the film by playing Sam, an astronaut marooned on the Moon for 3 years mining its resources to replace the ones we used up on Earth. Jones perfectly thrusts us into this near future with a fun, fake commercial showing what as happened to Earth’s resources and what is being done about it. After the prologue, we immediately know all we need to, so we can accept the film’s world. In so many science-fiction films, screenwriters spend most of the film using exposition to explain the whys and whats of what we are seeing, and thankfully, Jones has bypassed this. The story in Moon isn’t out of the realm of possibility, also adding to our acceptance of this future.

The film plays with Sam’s isolation, showing him doing routines and mundane hobbies. The film damns typical sci-fi conventions like action and spectacle to play with Sam’s increasing descent into madness, or what appears to be, as he is slowly starting to see things. This is what I meant by the drama aspect of my coined term, science-fiction drama. Not helping is Gerty (voiced by Kevin Spacey), an all knowing robot, like a kissing cousin to HAL from 2001: A Space Odyssey. In fact, the film plays homage directly to that film, minus the Kubrick existentialism. Moon really kicks in after an accident causes Sam to blackout, only for Gerty to not explain what happened or why there’s another Sam hanging around.

The film offers up some great ideas, and plays well after the viewing. Most sci-fi fans will think about what the film has presented, a pleasant present the film gives us, making it a film worth thinking about. But the real problem is that while Duncan offers up some interesting scenarios and ideas, the follow through is a little limp. Where the film needed to follow-up on the escalation of tension and drama, it peters out. It’s a mild misstep, one we can easily ignore, for Duncan has crafted a solid, little science-fiction film that is engaging for the eyes and mind. The focus on ideas and here, claustrophobia, anchored in by a very game Sam Rockwell, and a beautiful (aren’t they always?) score by Clint Mansell, makes Moon a destination worth traveling too.

Rating: 3.5 out of 5 stars

Regardless of anything you do during these warm months; swimming, vacationing, picnicking, you’ll be in a cold theater for the summer movies. It never fails, year after year, each summer promises big hype, big action, and big laughs. But what to see? There’s a lot of flicks aiming for you and your (important) dollar this summer. Everything from cartoons, to 3-D spectacles, to franchise pictures, so let us, Killer Film, in our attempt at infinite wisdom shuffle through each of the four summer months to see what you should and shouldn’t see. To keep it all simple, we’ll state our reasonings on whether you should see it theatrically or not with a brief opinion and a See It or Skip It. Of course, we’ll be seeing everything so check back with our reviews to see if we we’re spot on, but now onto Summer Preview: June. 

(June 5^th)

Land of the Lost 

Jon: The trailer has done nothing to interest me in this film. While the great Gene Siskel said never judge a movie based on the trailer, I can’t help it. I know the original source material (anyone remember the 70s TV series?) was campy, but it looks like this is a spoof. If so, I’m sick of spoofs. I’m getting over Will Ferrell as well-he’s not funny to me anymore. The only redeeming factor for me is Danny McBride. The CG looks awful too. Skip It.

Donny: I’m a comedy fan, so I don’t need to say that even if it blows goats I’m gonna check it out in the theatre.  I love both Danny McBride and Will Ferrel, and the fact that it does look like a spoof doesn’t bother me in the least.  I watched the original show when I was a kid, but for some reason this remake doesn’t bother me.  See it.

The Hangover

Jon: Everyone is talking about this film. It looks hilarious. A wild night in Vegas leads to a missing friend and other odd occurrences like a Phil Collins solo by Mike Tyson. Could be the sleeper hit of the summer. The scene where the baby gets whacked by a car door is movie moment gold to me. I’m mean, this looks like nothing more than an average Saturday night if you hang with me, but I guess people think this is wild! Just kidding, just See It.

Donny: Zach Galifianakis baby!  That is reason enough for me to check this bad boy out, and the Mike Tyson scene looks classic as well.  See it.

Away We Go

Jon: Mendes does a summer comedy? After such heavy drama filled material like Jarhead and Revolutionary Road,  this looks like a bit of fresh air in his filmography. It looks funny, too. People forget how comical American Beauty was in parts. I’m also liking that fact that this film isn’t anchored by huge stars, just Maya Rudolph and John Krasinski. I’m expecting this to be a good film. See It

Donny: I enjoy Mendes’s work, and the trailer definitely makes the film look like fun.  I’m curious to see Mendes tackle comedy so I’ll be there as soon as it hits a theatre near me. See it.

(June 12^th)

Taking of Pelham 1 2 3

Jon: For me, Tony Scott is hit or miss. He injects Red Bull into his film’s editing, sometimes to dizzying effects. John Travolta is in a desperate need of a comeback film (isn’t he always?), and we have Denzel. The trailer looks good. The cast is solid. I suspect this might be winner, but there seems something stale about it. I’ve never seen the original film, but I’m going on a leap of faith here and am saying See It

Donny: I’m so tired of Travolta.  I really dig the guys early films, but I’m tired of his newer work, and for some reason I don’t care for him as a bad guy.  When he plays the villain he always seem to over act.  It’s times like this I’m glad I’m the boss, because I can let Jon take this one and I can avoid it like the plague.  Skip it.

Imagine That

Jon: I can’t stand the fact that Eddie Murphy still makes crap. I can’t stand the fact that he actually thought he was going to win the Oscar instead of Alan Arkin a few year’s ago, and stormed off after he lost. After a ton of duds, this doesn’t look bad, really. Should be what it seems: a family film with some laughs and drama. I don’t think it needs to be seen theatrically though. Skip It

Donny: I have no desire to see this one either.  Skip it.

Moon

Jon: I expect many of you won’t be able to see this when it’s first released. It’s an art house sci-fi film starring Sam Rockwell. I’m sold. I heard it’s a bit 2001 or Solaris but really good. With sci-fi back this summer, it’s nice to know outside all of the explosions and special effects, someone can tell an intelligent sci-fi story. See It

Donny: I’m totally down for this one!  I love Sam Rockwell and I love science fiction even more, so this one is a no brainer for me.  See it.

(June 19^th)

Year One

Jon: At first, I thought it looked horrible. Then, after seeing the trailer a gazillion times, I’m swinging over to the “it looks decent” camp. I feel as if Michael Cera’s form of speech and comedy is getting dangerously old, but the apparent laughs that could come from this scenario, are winning me over. There hasn’t been a good caveman movie in a while…scratch that, any caveman movie in a long while. See It

Donny: Like Jon I’m getting tired of Cera’s acting but I’m still gonna check this one out in the theatre.  I’m not excited about it, but Jack Black is usually pretty funny.  See it.

The Proposal

Jon: You know, this is squarely aimed at the female demographic, as they don’t have much this year for themselves, but it looks decent. Bullock is bland, but maybe with the right co-star like Ryan Reynolds, she might be good. The whole thing seems like “been there, done that”, but this could be a good date movie. I might get flack for this, but if you’re woman is sick of “man” movies, then See It.

Donny: I’m married to a women that loves this type of flick.  What does that mean you ask?  It means that I’m gonna have to see this one whether I like it or not.  So if I have to see it I’m going to recommend everyone else suffer through it as well. Bullock does look hot in the poster though, so that’s a plus.  See it.

Dead Snow

Jon: Airing on In Demand the same date as this very limited theatrical release, perhaps no film was talked about more from this year’s Sundance than this. Why? Two words: Nazi zombies. Suddenly the stars aligned and all is right with the world. Nazi zombies, ladies and gentlemen, Nazi zombies. See It.

Donny: For once I totally agree with Jon.  Nazi zombies Mother F***er!  See it.

(June 26^th)

Transformers: Revenge of the Fallen

Jon: As much as I could care less about the first film since it was overly long, poorly edited action, and too jokey, this looks pretty kick ass. Ugh, I hate myself for admitting that to the world. Michael Bay? Ugh. Shia? Ugh. John Turturro? Ugh. Megan Fox and what looks to be insane action? Okay, I’m there midnight showing. Damn it. Now Donny will never let me live this down, that I’m recommending a Bay film. See It.

Donny: Hell to the yes baby!  Michael Bay is A-W-E-S-O-M-E awesome! Also Megan Fox leaning over a motorcycle in really short jean shorts, giant robots, explosions, Shia, and Megan Fox leaning over a motorcycle in really short jean shorts!  You bet your ass I’m gonna be there at midnight for this one.  See it.

My Sister’s Keeper

Jon: I wanted to cry after seeing this trailer. Geez, talk about a tear jerker. Great counter-programming this week. Fathers and sons are off seeing robots fight and Megan Fox’s ass, and mothers and daughters are crying about dying cancer kids. Truth be told, if this film skimps on the manipulation of the idea, it could be a good film. See It.

Donny: I’m gonna let Jon see this while I see Megan Fox’s ass.  Skip it.  

And that’s June! Keep it here at Killer Film for reviews of these films and more! I’m sure Donny and I will be battling over Transformers, so that should be comical. Also, feel free to always leave comments and you can email us at jon@killerfilm and donny@killerfilm as we love hearing from you! See you at the movies!

The summer movie season is almost here, and while you probably have read a few of these lists, I want to invite you to read ours. Why? Because we will offer our opinion of why you should see this or that movie. Until we actually see these films, here’s what we feel might be worth your money to see on the big screen. Just keep it here for our reviews!

Jon’s Picks:

5 – H2 (August 28th): Why? I really want to give this film the benefit of the doubt for two reasons: 1) Rob Zombie’s last sequel, The Devil’s Rejects blew House of 1000 Corpses out of the water, by being gritty, real, well-acted and directed, all things H1kC was not, and 2) it has to be better than the slew of remakes we got this year in horror. If you still don’t believe me, at least there’s interesting ideas he explored in the first film than could be exploited here for a much, much better film. 

4 – Away We Go (June 5^th): Why? Some people were put off by Revolutionary Road, and this film looks to be a 180 degrees away from that film, while still exploring the American family Sam Mendes likes to explore. The trailer offers us a quirky look at two lovers finding themselves during a pregnancy. This film is going to be the adult comedy pick of the summer, and an intelligent alternate choice for people soon-to-be bummed by mindless entertainment. 

3 – The Brothers Bloom (May 15^th): Why? Because Brick was amazing. A great cast, Johnson’s unique dialogue, and a con men storyline, so what’s not to love? Outside the studios constant shifting of release dates, which I feel is all for the better of the film, meaning they are looking for a good time for it, I can’t see a sophomore slump here. C’mon, Rachel Weisz is endlessly adorable too.

2 – Public Enemies (July 1^st): Why? If Johnny Depp, Christian Bale, and a ’30s styled gangster film directed by Michael Mann doesn’t get you into the cool theater, then you deserve to get sun burned. Depp’s known for his roles of quirky characters, so here’s a nice departure as the notorious John Dillinger. I get a Heat vibe from this film, and I love those Warner gangster films from the 1930s and ’40s, so this has got my blood pumping to watch two of our better thespians, Bale and Depp, go head-to-head. A preview to a Batman/Riddler fight in Nolan’s third Batman film? Maybe, either way this is going to be one great flick.

1 – Terminator Salvation (May 21^st): Why? Let’s throw McG out of this equation here. What’s got me super-excited for this, outside of being a Terminator fan already, is the fact that it looks to be just as good as a drama set in a dystopia future, than an action film. Jonathan Nolan (The Dark Knight, Memento) gave the script a second look and rewrites on Bale’s request to enhance the drama and tension, but the film just looks incredibly epic. Cameron’s films only hinted at this war, and (gasp!) McG is bringing it to us. What sweetens the deal is Linda Hamilton is back as Sarah in a voice-over cameo, Arnold is cameoing as well, and face it: you want to see how bad the lighting is! This could be one of 2009′s biggest summer films.

**Jon’s Wild Card Pick** 

Moon (June 12^th, limited release)

Donny’s Picks:

5 – X-Men Origins: Wolverine (May 1st): Why? Because Wolverine kicks ass, that’s why.  Come on, even if this flick doesn’t measure up to the ass kickery that was X2 it is still going to rock hard.  How do I know this?  Because it’s Wolverine!  With Jackman sporting the claws and Liev Schreiber lending his talents to Sabertooth, at the very least it’ll be entertaining. Bottom line, I’m there on opening night. 

4 -  G.I. Joe: The Rise of Cobra (August 7th): Why? The cartoons were awesome and I’m a nostalgic bastard.  The trailer looks pretty darn cool, and Sienna Miller looks stupid hot as the Baroness.  In my opinion this flick is going to be a lot of fun even if it is cheesy as hell.  It’s based on a cartoon for God’s sake.  Plus, Sienna Miller is stupid hot (had to slip it in there again).  

3 -  Inglorious Basterds (August 21st): Why? Because Quentin Tarantino is f**king bad ass.  I’m a sucker for Tarantino’s flicks.  I like all of them, and seriously, a Tarantino flick with Brad Pitt, Eli Roth, Sam Jackson, and Mike Myers in the cast sounds priceless.  Also, I really dug the original flick that this one is loosely based on. 

2 -  Transformers: Revenge of the Fallen (June 24th): Why? Mainly because I have a healthy obsession with Megan Fox (I think she’s yummy), but also because I really dig giant robots.  Add Michael Bay to the equation and I’m amped up like a hooker at a SciFi convention.  

1 – Funny People (July 31st): Why? I love almost everything Jud Apatow works on, and when he directs a flick it’s usually comedy gold.  Sandler, Rogen, and hottie Leslie Man in the same flick make this one my most anticipated of the summer.  Also, early talk of possible Oscar buzz make this one to watch for even the most uptight movie snob (I’m not referring to you Jon).

**Donny’s Wild Card Pick** 

Moon (June 12^th, limited release)

 Agree or disagree? Email us at jon@killerfilm.com or donny@killerfilm.com or simply leave a comment below! See you at the movies!